Matt Brown

Band Member, Singer, Composer, Music Producer, Musician,… more

Victoria, Australia
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Credits & experience

2017
  • Lifting Clouds (short, Medea Films, dir: Stella Dimadis) : Composer
  • Black Death (documentary, Global Mana Foundation, dir: Oliver Cowley, in post-production) : Composer
  • 448 Psychosis (theatre, Melbourne Fringe Festival, dir: Michele McNamara, in pre-production) : Composer/Programmer/Performer
  • Banjo (children's TV, Rod Lara Entertainment, in pre-production) : Composer
  • Erasers (theatre, The Owl and Cat Theatre) : Composer/Sound Designer
2016
  • flesheatingtiger (theatre, The Owl and Cat Theatre, Melbourne and Alaska, dir: Gabrielle Savrone) : Composer/Sound Designer
  • Lamb Slam (mobile game re-release, Tentative Games : Composer
  • Sierra Energy Potential (documentary web series, Global Mana Foundation, USA, dir: Oliver Cowley) : Composer
  • Still (theatre season, The Owl and Cat Theatre) : Composer/Sound Designer
2015
  • Who Saved JFK? (theatre, dir: Emma Buckley) : Composer/Sound Designer
  • interARTive (experiential art show, The Owl and Cat Theatre) : Curator, Performer
  • Bordello (experiential theatre, The Owl and Cat Theatre, dir: Gabirelle Savrone) : Composer/Programmer/Sound Designer
2014
  • The Dirt Sister (short, Growing Up Strange, dir: Emma Buckley) : Composer
  • Last Mime Standing (theatre, Rod Lara Entertainment, Fringe & MICF, dir: Brett Danalake) : Composer/Sound Designer
2013
  • Smokin' (short, dir: Oliver Cowley) : Music Editor

Music

Vocal ability

Lead singer


Vocal range

Baritone


Composer ability

Expert


Producer ability

Expert


Singing styles
  • Pop
  • Rock
  • Classical

Favourite genres
  • Metal
  • Electronic
  • Jazz
  • Classical

Influences: Inon Zur, Clint Mansell, John Zorn, Jason Graves, Amon Tobin, Aphex Twin, Mindless Self Indulgence

Vocal Performance: choirs (including Astra), jazz band (Melbourne High School), metal (Cinnabar), experimental (XIBE8).

Composition: song writing led to arranging, then "contemporary classical", experimental and electronic at La Trobe University, all of which have continued.

Apparently I have been composing my entire life, singing made up tunes to my mum as a child. Since then I have had a considerable amount of both formal training and personal artistic exploration. The majority of my work has been for Theatre, including programming interactive installations, but have recently had some film and TV work that will help broaden my career path.

I focus on texture and aesthetic. This allows me to set an environment within which I can vary energy levels with rhythm and density. I have an extremely broad knowledge of musical style and culture, and enjoy researching and gaining an understanding of music that I am less familiar with. My knowledge of music theory is such that I generally know what collection of notes I will use before I even commence writing (major, minor, modal, atonal, microtonal...)

My favourite listening at the moment is computer game soundtracks - they have the scope and majesty of film scores, but without many of the stylistic restrictions. I have enjoyed emulating this in a number of pieces, including "Witching Hours - A Musical Tribute to Witcher 3: Wild Hunt" (for which the video link is provided) which demonstrates the epic fantasy feel of the orchestra, followed by more etherial electronic sounds for the mystical elements and, finally, industrial mayhem for a powerful finale. This contrasts greatly with "Universim" which features spacious sci-fi electro, eliciting a soothing, but not flippant, sense of wonder.

Film & Stage Crew

Sound Crew ability

Intermediate


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